Duke Ellington

Duke Ellington

The achievements of Duke Ellington (1899-1974) are staggering. The pianist led the greatest of all jazz orchestras, in the opinion of many, without a break for half a century. Its ranks were filled with world-class soloists. Many graduated to successful careers of their own, while others remained for decades. And Ellington composed with his musicians in mind, tailoring some 1,500 short and long works to fit their individual musical personalities. He financed the orchestra though royalties from his recordings and compositions, as well as from box-office receipts, in order to afford himself the luxury of being able to hear his music performed almost from the moment of its conception. “Other leaders,” Ellington biographer Stanley Dance once noted, “went looking for men who fitted a common predetermined pattern, which was why so many big bands tended to sound the same except when their stars were soloing. Ellington constantly sought out musicians who could give his imagination something new to work on and who also made his band sound different from any other.” Edward Kennedy Ellington was born and raised in Washington, DC, and studied piano as a child, though he didn’t take it too seriously at first, preferring to play baseball. He wrote his first composition, “Soda Fountain Rag,” at age 15 and was soon playing piano at parties. “I learned that when you were playing piano,” he recalled years later, “there was always a pretty girl standing down at the bass clef end of the piano. I ain’t been no athlete since.” By 1923, the always-suave pianist was playing New York City clubs with a band called the Washingtonians that included saxophonist Otto Hardwick and drummer Sonny Greer. Ellington became leader the following year, and the band’s unique style began to evolve, especially after growl trumpet specialist Bubber Miley joined in 1925. Under the guidance of manager Irving Mills, the band began recording prolifically in 1927 and was engaged for a four-year residency at the Cotton Club in Harlem, where Ellington provided music for the ever-changing floor shows. The orchestra continued to flower on records, in motion pictures, and on tours to Europe and throughout the U.S. during the 1930s and reached what many feel was its creative pinnacle between 1939 and ’42, when tenor saxophonist Ben Webster and bassist Jimmie Blanton were both members. In 1941, with financial backing from friends in the film industry, Ellington composed the stage musical Jump for Joy in an attempt to counter the negative images of African-Americans that prevailed in both musical theater and motion pictures. Although it closed after a 12-week run in Los Angeles, Jump for Joy marked he beginning of an interest in creating extended works, many with socially significant themes, that was unabated for the rest of Ellington’s life. Baritone saxophonist Harry Carney stayed with Ellington longer than any sideman, from 1927 until ’74. Alto saxophonist Johnny Hodges, the band’s most popular soloist, spent almost as long in the reed section, from 1928 to ’51 and again from 1955 to ’70. Among numerous other members of note were trumpeters Bubber Miley, Cootie Williams, Ray Nance, Cat Anderson, and Clark Terry; cornetist Rex Stewart; trombonists Joe Nanton, Juan Tizol, and Lawrence Brown; clarinetists Barney Bigard and Jimmy Hamilton; saxophonists Ben Webster and Paul Gonsalves; bassists Wellman Braud, Jimmy Blanton, and Oscar Pettiford; drummers Sonny Greer, Louie Bellson, and Sam Woodyard; and vocalists Ivie Anderson and Al Hibbler. The most enduring songs written by Ellington include “Black and Tan Fantasy,” “Mood Indigo,” “It Don’t Mean a Thing (If It Ain’t Got That Swing),” “Sophisticated Lady,” “Solitude,” “In a Sentimental Mood,” “I Got It Bad (And That Ain’t Good),” “Do Nothin’ Till You Hear from Me” (aka “Concerto for Cootie”), “Don’t Get Around Much Anymore” (aka “Never No Lament”), “I’m Beginning to See the Light,” and “Satin Doll.” Among his extended works are Black, Brown, and Beige; The Liberian Suite, Such Sweet Thunder, The Far East Suite, The Latin American Suite, The Afro-Eurasian Eclipse, and three sacred concerts. Ellington’s theme song, “Take the ‘A’ Train,” was composed by his longtime associate, pianist Billy Strayhorn.

ALBUM

Una raccolta completa degli album di Duke Ellington, dalle prime produzioni ai successi più recenti.

Back To Back (Duke Ellington And Johnny Hodges Play The Blues) - Duke Ellington, Johnny Hodges

Duke Ellington, Johnny Hodges

Back To Back (Duke Ellington And Johnny Hodges Play The Blues)

  • Vinile
  • Digitale
The Duke Ellington Carnegie Hall Concerts, January 1943 - Duke Ellington

Duke Ellington

The Duke Ellington Carnegie Hall Concerts, January 1943

  • Digitale
Soul Call - Duke Ellington

Duke Ellington

Soul Call

  • Digitale
The Best Of Early Ellington - Duke Ellington

Duke Ellington

The Best Of Early Ellington

Reissue
  • Digitale
Duke Ellington's Finest Hour - Duke Ellington

Duke Ellington

Duke Ellington's Finest Hour

Reissue
  • Digitale
The Ella Fitzgerald & Duke Ellington Cote D'Azur Concerts On Verve - Ella Fitzgerald, Duke Ellington

Ella Fitzgerald, Duke Ellington

The Ella Fitzgerald & Duke Ellington Cote D'Azur Concerts On Verve

Reissue
  • Digitale
Live At The Whitney - Duke Ellington

Duke Ellington

Live At The Whitney

Reissue
  • Digitale
Ella & Duke At The Cote d'Azur - Ella Fitzgerald, Duke Ellington

Ella Fitzgerald, Duke Ellington

Ella & Duke At The Cote d'Azur

Reissue
  • Digitale
Early Ellington: The Complete Brunswick And Vocalion Recordings 1926-1931 - Duke Ellington

Duke Ellington

Early Ellington: The Complete Brunswick And Vocalion Recordings 1926-1931

  • Digitale
Ella At Duke's Place - Ella Fitzgerald, Duke Ellington

Ella Fitzgerald, Duke Ellington

Ella At Duke's Place

Reissue
  • Digitale
Orchestral Works - Duke Ellington

Duke Ellington

Orchestral Works

  • Digitale
Side By Side - Duke Ellington, Johnny Hodges

Duke Ellington, Johnny Hodges

Side By Side

192kHz/24-bit
  • Vinile
  • Digitale
Back To Back - Duke Ellington, Johnny Hodges

Duke Ellington, Johnny Hodges

Back To Back

192kHz/24-bit
  • Digitale
Money Jungle - Duke Ellington

Duke Ellington

Money Jungle

  • Vinile
  • CD
Jazz Collection: Live! At The Newport Jazz Festival '59 - Duke Ellington

Duke Ellington

Jazz Collection: Live! At The Newport Jazz Festival '59

  • Digitale
Meets Coleman Hawkins / And John Coltrane - Duke Ellington

Duke Ellington

Meets Coleman Hawkins / And John Coltrane

  • Digitale
Duke Ellington & John Coltrane - Duke Ellington, John Coltrane

Duke Ellington, John Coltrane

Duke Ellington & John Coltrane

  • Vinile
  • CD
  • Digitale
In The Uncommon Market - Duke Ellington

Duke Ellington

In The Uncommon Market

  • Digitale
The Duke Ellington Carnegie Hall Concerts, December 1944 - Duke Ellington

Duke Ellington

The Duke Ellington Carnegie Hall Concerts, December 1944

  • Digitale
Carnegie Hall Concert, December 1947 - Duke Ellington

Duke Ellington

Carnegie Hall Concert, December 1947

  • Digitale
At The Alhambra - Duke Ellington

Duke Ellington

At The Alhambra

  • Digitale
Duke Ellington And His Orchestra Featuring Paul Gonsalves - Duke Ellington, Paul Gonsalves

Duke Ellington, Paul Gonsalves

Duke Ellington And His Orchestra Featuring Paul Gonsalves

Remastered
  • Digitale
Jazz Profile: Duke Ellington - Duke Ellington

Duke Ellington

Jazz Profile: Duke Ellington

  • Digitale
Duke Ellington Meets Coleman Hawkins - Duke Ellington, Coleman Hawkins

Duke Ellington, Coleman Hawkins

Duke Ellington Meets Coleman Hawkins

  • Vinile
  • CD
  • Digitale
Jazz Masters - Duke Ellington

Duke Ellington

Jazz Masters

  • Digitale
Money Jungle - Duke Ellington, Charles Mingus, Max Roach

Duke Ellington, Charles Mingus, Max Roach

Money Jungle

  • Digitale
70th Birthday Concert - Duke Ellington

Duke Ellington

70th Birthday Concert

  • Digitale
The Best Of Duke Ellington - Duke Ellington

Duke Ellington

The Best Of Duke Ellington

  • Digitale
Piano Reflections - Duke Ellington

Duke Ellington

Piano Reflections

  • Digitale

SINGOLI

I singoli più rappresentativi di Duke Ellington, tra successi storici e nuove uscite.

She Loves You/All My Loving/Eleanor Rigby - Duke Ellington

Duke Ellington

She Loves You/All My Loving/Eleanor Rigby

Medley/Live On The Ed Sullivan Show, March 1, 1970
  • Digitale
Do Nothing Till You Hear From Me - Ella Fitzgerald, Duke Ellington

Ella Fitzgerald, Duke Ellington

Do Nothing Till You Hear From Me

Live On The Ed Sullivan Show, March 7, 1965
  • Digitale
It Don't Mean A Thing (If It Ain't Got That Swing) - Ella Fitzgerald, Duke Ellington

Ella Fitzgerald, Duke Ellington

It Don't Mean A Thing (If It Ain't Got That Swing)

Live On The Ed Sullivan Show, March 7,1965
  • Digitale

BIOGRAFIA



The achievements of Duke Ellington (1899-1974) are staggering. The pianist led the greatest of all jazz orchestras, in the opinion of many, without a break for half a century. Its ranks were filled with world-class soloists. Many graduated to successful careers of their own, while others remained for decades. And Ellington composed with his musicians in mind, tailoring some 1,500 short and long works to fit their individual musical personalities. He financed the orchestra though royalties from his recordings and compositions, as well as from box-office receipts, in order to afford himself the luxury of being able to hear his music performed almost from the moment of its conception.

“Other leaders,” Ellington biographer Stanley Dance once noted, “went looking for men who fitted a common predetermined pattern, which was why so many big bands tended to sound the same except when their stars were soloing. Ellington constantly sought out musicians who could give his imagination something new to work on and who also made his band sound different from any other.”

Edward Kennedy Ellington was born and raised in Washington, DC, and studied piano as a child, though he didn’t take it too seriously at first, preferring to play baseball. He wrote his first composition, “Soda Fountain Rag,” at age 15 and was soon playing piano at parties. “I learned that when you were playing piano,” he recalled years later, “there was always a pretty girl standing down at the bass clef end of the piano. I ain’t been no athlete since.”

By 1923, the always-suave pianist was playing New York City clubs with a band called the Washingtonians that included saxophonist Otto Hardwick and drummer Sonny Greer. Ellington became leader the following year, and the band’s unique style began to evolve, especially after growl trumpet specialist Bubber Miley joined in 1925. Under the guidance of manager Irving Mills, the band began recording prolifically in 1927 and was engaged for a four-year residency at the Cotton Club in Harlem, where Ellington provided music for the ever-changing floor shows.

The orchestra continued to flower on records, in motion pictures, and on tours to Europe and throughout the U.S. during the 1930s and reached what many feel was its creative pinnacle between 1939 and ’42, when tenor saxophonist Ben Webster and bassist Jimmie Blanton were both members. In 1941, with financial backing from friends in the film industry, Ellington composed the stage musical Jump for Joy in an attempt to counter the negative images of African-Americans that prevailed in both musical theater and motion pictures. Although it closed after a 12-week run in Los Angeles, Jump for Joy marked he beginning of an interest in creating extended works, many with socially significant themes, that was unabated for the rest of Ellington’s life.

Baritone saxophonist Harry Carney stayed with Ellington longer than any sideman, from 1927 until ’74. Alto saxophonist Johnny Hodges, the band’s most popular soloist, spent almost as long in the reed section, from 1928 to ’51 and again from 1955 to ’70. Among numerous other members of note were trumpeters Bubber Miley, Cootie Williams, Ray Nance, Cat Anderson, and Clark Terry; cornetist Rex Stewart; trombonists Joe Nanton, Juan Tizol, and Lawrence Brown; clarinetists Barney Bigard and Jimmy Hamilton; saxophonists Ben Webster and Paul Gonsalves; bassists Wellman Braud, Jimmy Blanton, and Oscar Pettiford; drummers Sonny Greer, Louie Bellson, and Sam Woodyard; and vocalists Ivie Anderson and Al Hibbler.

The most enduring songs written by Ellington include “Black and Tan Fantasy,” “Mood Indigo,” “It Don’t Mean a Thing (If It Ain’t Got That Swing),” “Sophisticated Lady,” “Solitude,” “In a Sentimental Mood,” “I Got It Bad (And That Ain’t Good),” “Do Nothin’ Till You Hear from Me” (aka “Concerto for Cootie”), “Don’t Get Around Much Anymore” (aka “Never No Lament”), “I’m Beginning to See the Light,” and “Satin Doll.” Among his extended works are Black, Brown, and Beige; The Liberian Suite, Such Sweet Thunder, The Far East Suite, The Latin American Suite, The Afro-Eurasian Eclipse, and three sacred concerts. Ellington’s theme song, “Take the ‘A’ Train,” was composed by his longtime associate, pianist Billy Strayhorn.

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